Hymn-briefing 聖詩簡介 0003 720 We are one 咱本底有聖神做伴是一體

Hymn-briefing is a new innovative project at the Taiwanese Presbyterian Church of Greater St. Louis, for this congregation during the lockdown, and the worship services are carried out through viewing the pre-recorded video. We try to enhance the quality of the worship services. Since we have many first-generation Christians who are not familiar with the convention of hymn singing, in the congregation, briefing on the hymn to be sung in the worship service seems to be a good and essential way to facilitate the joy and the spirit of worshiping. 聖詩簡介是在新路易台灣人長老教會為這個會眾所創新的一項方案。 這期間，禮拜堂關閉，禮拜儀式經由觀看錄影進行。我們設法提升禮拜的品質。由於會眾裡有許多第一代基督徒對於傳統的「唱聖詩」並不熟悉，簡介當天要唱的聖詩就成為提升禮拜品質的一項好又必要，可能促使大家享受禮拜的樂取與精神的措施。

Everything we do so far has been exploratory because nobody knows what is the best way, the right ways, not even the potential ways. The only thing we know for sure is the demonstration of the Taiwanese pronunciation of the Taiwanese lyrics. Based on the previous trial with Hymn-study in a Sunday-School class we thought to touch the theology, the doctrines, and the faith-related subject might be helpful to the ways we sing. Another thing for sure is the avoidance of jumping into a drill for the skill of singing and the avoidance from asking all to sing alike because we should not assume that everyone likes to sing and the related exercises. 我們已經進行的簡介都是探索性的，因為沒有人真正知道最好的方法、。正確的方法、甚至可能的方法。唯一確知的事項就是示範台與歌詞的發音與咬字。另一件確定的事情就是「避免跳入音樂技巧的磨練，而且避免要大家唱得一模一樣」因為我們不可以預設每個人都喜歡唱歌，喜歡參加有關唱歌的磨練。

 

Here are some video files to be watched and compare how others sing and try to sing well while the song does not appear to be written for performance. 這裡有些範例可以聽看看別人如何設法把這首歌唱好，即使這首歌不像是為演唱而寫的。

Frisk Luft https://www.youtube.com/watch?v=xGD_BFSf90c

Timothy Wright & The Concert Choir https://www.youtube.com/watch?v=DAfCrsLZ2NY

Re-written and Performed By Jars of Clay. https://www.youtube.com/watch?v=cfg5VTyDkyA

Geneva Presbyterian Church, Laguna Hills, CA https://www.youtube.com/watch?v=cMD6evRsrkA

Closing of Jubilee Year of Mercy Mass. St. Faustina Choir, Church of the Divine Mercy, sung as closing hymn https://www.youtube.com/watch?v=YNU-9ODBujk

Updated for May 17, 2020

Taiwanese Presbyterian Church of Greater St. Louis

Drafted by Anthony H. Su, to be improved by all continuously.

Hymn-briefing 聖詩簡介 0003

Updated for May 17, 2020

Taiwanese Presbyterian Church of Greater St. Louis

Drafted by Anthony H. Su, to be improved by all continuously.

Outline 大綱 -- Sound demonstration

1.      The special Taiwanese term of lán/goán.

2.      The pronunciation of Taiwanese lyrics, pointing out the rare words and the word with alternative pronunciation.

3.      The key points in the lyrics and the melody

4.      The rhythm of this hymn

5.      The half-beat notes

6.      There is no extended notes

7.      The upward melody

8.      The downward melody

9.      The beginning of the melody

10.  The ending of the melody

11.  The emotive points - ambiguous

大綱  聲音示範

1.      台語的特殊詞彙 lán / goán

2.      台語發音，指出罕用字及破音字

3.      歌詞跟旋律裡面的重點

4.      這首聖詩的節奏

5.      半拍的聲音

6.      沒有延長的聲音

7.      上升的旋律

8.      下降的旋律

9.      旋率的開始點

10.  旋律的結束

11.  敘/抒情的旋律點 – 不明顯

 

Key points : melody / rhythm / text

1.      The stable half-beat motion throughout the whole song is not for displaying emotion or attitudes, but facilitating rote and suppression of pondering.

2.      There is no long notes for pondering.

3.      Simple echoing in the first 2 lines and the whole 3^rd line echoing the first two.

4.      Climax is not obvious: “know” in English perhaps can be considered a climax. The same note is “thus” in Taiwanese lyrics.

5.      Not easy to show up-and-down and run-and-stop.

6.      Written by a Catholic priest for a Catholic church.

7.      Poetic ambiguity prevails the text, lacking transactional verb in the verse easily memorized and sung most frequently, not like a song that stimulates or inspires .

重點:旋律 / 節奏 / 歌詞

1.      全程平穩的半拍行進，不在於抒情或表態，而有助於覆/背誦、暫停思考。

2.      沒有長音提供沈思、與感觸的機會

3.      簡單的呼應（第一、二行的後半回應前半；第三行回應前兩行）。

4.      高潮不明顯:英語跟華語的「知道」，台語的「按呢」或許可算高潮。

5.      不容易唱出抑揚頓挫。

6.      由天主教神父為天主教會撰寫的。

7.      模糊的詩情語漫佈全場,被記住也最常唱的第一節缺乏及物/及人動詞。不像振奮人心或引人深思的歌曲。

Key points : melody / rhythm重點:旋律 / 節奏

1.      The verb for “They” is “know”; those for “we” -  are, walk, work, restore, pray,  spread, guard, save.

2.      Lacks verbs for “love”.

3.      An implicit challenge to the singers’ concept of “one” is implied.

4.      The 4^th verse contains the convention of doxology for ending a worship service.

5.      The tonic of a minor scale (usually also the ending note) is in the lower part of this melody.

6.      The highest note, appearing 3 times, is 5 steps above the tonic. The 2^nd high note, appearing 3 times in each line, is 4 steps above the tonic.

7.      The refrain concludes with down flowing melody.

8.      The tonic of a minor scale (usually also the ending note) is in the lower part of this melody.

9.      The highest note, appearing 3 times, is 5 steps above the tonic. The 2^nd high note, appearing 3 times in each line, is 4 steps above the tonic.

10.  The refrain concludes with down flowing melody.

11.  The range, covering 8 steps, allows everybody to sing easily. This is not a song to show  skills or emotion but an ordinary tune for everybody to express.

Key points in the melody  旋律裡的重點

1.      「他們」的動詞 -「知道」；我們的「動詞」 - 是、合、併肩、行走、作工、扶持、尊敬、看顧。

2.      缺乏有關「愛」的動詞。

3.      隱含著對於唱者的「合一觀」的挑戰。

4.      第四節包含傳統的「頌榮」歌詞，預存做為「閉會歌」之用的條件。

5.      小調音階的主音 la（通常也是結束音）擺在這個旋律的下端。

6.      最高音出現三次，只高於主音五度。次高音（高於主音四度）在每行各出現三次。可說是偏低的旋律。

7.      副歌以下降旋律作為結語。

8.      小調音階的主音 la（通常也是結束音）擺在這個旋律的下端。

9.      最高音出現三次，只高於主音五度。次高音（高於主音四度）在每行各出現三次。可說是偏低的旋律。

10.  副歌以下降旋律作為結語。

11.  音域剛好8度容許任何人輕易唱出，不是為高手而寫的「展技歌」或抒發歌，而是人人皆宜的普通「唸歌」（敘述歌）。

Closing words

1.     Let’s imagine that we are reminding ourselves repetitively to have the love of Jesus in order to be known as Christians.

2.     Let’s imagine what kinds of love we need to have so that others could know us as Christians.

3.     Let’s imagine that how could we show what kinds of love to let others realize that we are Christians.

4.     Let’s imagine whether “we are  afraid of being recognized as Christians or not”.

5.     Let’s imagine how we could witness our faith, pass our faith on to others for good.

6.     Let’ imagine how we could sing this hymn without boring those who hear to ?$^@!.

1.     來想像看看我們重複地提醒自己要有耶穌的愛，好讓別人看得出來是基督徒。

2.     來想像看看我們我們要具備哪些種愛，才會使人看得出是基督徒。

3.     來想像看看我們要如何呈現出哪些種愛，才會使人看得出是基督徒。

4.     來想像看看我們是不是會怕被人看出是不是基督徒。

5.     來想像看看我們如何見證我們的信仰，把這寶貴信仰傳給別人分享。

6.     來想想我們可能怎麼把這首歌唱得不會把聽到的人煩到七葷八素的。

Wilderness Sunday School class 主日學曠野班 -- on side-tracking 談離題

2020/5/9 9:33 I would start with Chinese writing first for now. 先用中文寫看看，再來譯成英文。

「離題」的確是一大難題。很不受歡迎。但是好像有人樂在其中。
18:55

「離題」的確是「對話」過程裡的一大難題。很不受歡迎。但，若是去探討為何好像有人樂在其中，就可能找出另類的槓桿。試看看有沒有可能「客觀地」談。

離題有多種方式：

「全然離題」也許是最原始的離題，也就是說談話中插出完全無關的話語。其次，也許是離開層次，升到較高或較低的層次。比方說，話題開始的時候可能是在談哪裡有好的理髮店。突然有人冒出，進入理髮最好試穿什麼樣的鞋子。再來可能是轉移發言機會，雖然表面沒有離題，可是原來要發表高見的人卻被搶走麥克風，無法把化講完、講爽。這只是舉例，而還沒有徹底找出類別。

因此，可見離題可能是轉移範圍、轉移層級、轉移發言內容、或轉移發言的機會。當然，也有可能是講話的人自己離題，丟開自己起頭的範圍而插入不相關的內容，讓正在準備針對原題回應的人不知所措，失去機會。

可見離題其實是很不簡單、常發生、容易發生、容易理解的事情。

那麼講話離題有什麼不好，有什麼好？

先說不好之處：本來專注於「被打斷的話題」的人當然不爽，尤其是還沒有被談出重點、爽點、興奮點的話題，還有「本來佔上風」的發言者。若是在正式會議裡，主持會議秩序的人當然不爽。可能從原議題獲益的人可能不爽。一般說來，浪費時間是共同的不爽理由。

可是每件事情都有兩面。使人不爽的事情就可能會使另些人至少「暗爽」幾番。什麼樣的人會樂見「離題」呢？可想而知的就是一些不樂見原話題繼續的人。不樂見的理由也可能很多種：聽不懂；不知何去、何從、何趣、何味；自己有話題急著要講；不喜歡已經講出來的答案、方向、或層級；不喜歡出現的口氣；發言的感覺被催出來了，可是跟不上已經在台面上的話題；不喜歡正在講話人；….

那麼，離題有什麼好處或利益呢？首先，離題的事實或症候是在提醒「不是每個人都同心」，有人因為某些理由而脫隊了。怎麼辦？

兩種相反的辦法：

若是在「解決問題導向」的會議裡，當然第一考量是要拉回正題。通常，依照全球公認的「羅伯會議指南」所稱，責任與權力都在於會議主席。主席不但可以，甚至是應該即時打斷離題者的言論，取回發言權。若是主席不盡責而讓離題現象繼續，議員則應該使用議員權利呼喊「抗議」，指出是「程序問題」或是「權宜問題」。離題是權宜問題，意思說，發言內容不對提，不適於在當下提出來。主席一該立刻裁示或是要求解釋、表決「發言是否合宜」。這牽涉到一些技巧以及議員們的敏感度與反應時機。若是沒有議員抗議，離題就不是問題了。在爭權的政治會議場上或是爭利的商務會議場上，離題可能被當作技術跟技巧，就像籃球場上的技術犯規一般，有時是為了耗掉時間，有時是為了打擊士氣或是耗損對方戰力。

在主日學曠野班裡面，離題還有另一個現象，就是當主題還沒有出現或是主題已經熄火，失去火花，需要有人繼續有話撐場，讓其他人找出新話題。在這種轉場時刻，話題自然離題。我自己觀察到，離題時另有人興緻高漲，勇於發言。若用正向眼光來看，那是在證明他們喜歡跟這群人在一起，也是大家促成團契精神的時刻。
曠野班的特色之一在於沒有短期的學習目標，沒有人檢驗成果，接受「不可能在一小時內找到絕對正確的答案，所以不必把找答案列為第一優先」，而是要讓大家練習「找答案的要領：講出來，聽進去」，享受那協力、互助找答案的樂趣。

既然離題是要事先避免，事發後止血的事情。怎麼處理離題呢？相信是沒有公式可放心抄襲、重複的。我當然也講不出來該怎麼作，只可怎麼作。我只知道要設法避免讓「因離題而發言被中斷或被阻止的人」難堪、失面子而案中發誓「以後不玩了」。我相信我們曾經失去一些曾經認真參與的人。我還想過另一個步驟，就是回應離題的言論讓發言的人覺得被接受了。然後趁著發言支持「離軸發言」的後勁轉換話題重返被拋棄的話題。當然要考慮降低議論的層級。我們必須假設有人不惜關學院式的討論或論述，只能處理比較具體的跟比較實用的話題。也許「怎麼辦？」是比「真的嗎？」較大眾化的層次。

Weekly briefing on hymns to be sung in the Sunday worship - a breakthrough in hymnody for May 3, 2020

Pastor Aline Russell selected the new lyric Emmaus bound on Easter Day for this particular Sunday, the second Sunday after the Resurrection Day, on April 16.

1. The concept of Easter as a season with many lessons to study repetitively, rather than a day. The Christian, especially the Protestants' concept of reviewing the old stories for new teachings continuously, implies that we need to sing the old songs with new imagination, theology, and strength for following Jesus. Old song with new spirits and old body with new life that is filled with new faith.  Faith renewal.
2. The melody of this song contains a simple but basic of song structure: a call followed by an echo. Every family can create own lyric for singing the calling and the echoing among the family members.
3. Is this an emotional lyric? an emotional singing? This is a lyric of narratives that retell a story, rather than an emotive outlet of something going on in the mind. Try to count the number of adjective and adverbs. Just found an error "a long the way" should be "along the way", But the emotion is displayed through the plain narratives by the assistance of the rhythm. half-beat followed by a long note. We select the melody with long note in a 4/4, instead of another one with shorter note in a 3/4 pattern. The 4/4 pattern is close to the pattern of walking steadily while the 3/4 is the pattern of walking with flair and emotion. The short hold make the singing more like rushing with steady pattern with unspoken motivation.
4. Having the lyrics in multiple languages help us comprehend the whole thing with extra insights. Comparing the different translation usually help relieving our limitation and bias. When translating the lyric the wording and even the placing of the words have to be sacrificed. Look at how the Mandarin and the Taiwanese versions express more than the English original at the end of the first verse. The upward melody at the end proves a sense of relief. Among the "crucified" in the English original, "in the stone cave" in Mandarin, and "in a tomb" in Taiwanese,  which one express the sense of relief better? While the directions of the melody have different kinds of implications and potential for expression, the composer-lyricists might have more complicate considerations than the pure literal-only lyricists. How could the lyrics be adjusted to go along or take advantages of the existing melody? Lyric-translators have the opportunity, by switching the locations of some words. Sometimes, in editing for hymnals, the lyrics might be adjusted by editorial boards, many years after the lyricist passed away and the copyrights expired.  
5.  2020/4/29 8:02  There are two major sectors in a hymn-brief before the selected hymn were sung in a worship service. The literal elaboration of the thoughts and senses around the hymn and the voice based demonstration of the singing and playing. The literal could be shared in a blog in details and discussion continuously. For a briefing the literal could be display on the screen as a slide image. Note, the slide image has different format than a paragraph in an article. Due to the special situation of a moving demonstration the slide image need to use large font with minimized information for short glances. I will try this in the first trial of the video briefing on May 3, 2020. (8:07)
6. For preparation, the points of briefing would be listed, in a slide-editor app, first before they are prioritized for the video. (This might help others who are willing to explore the methods for this particular ministry,) (8:09) Whatever listed above would be the beginning points for the slide making today.(8:10) (Keep documenting the timing of writing helps me minimize the distraction and sidetracking while working on this. I wish there be an easy time-stamping macro to use. 8:11) 

Hymn-briefing 0002 018 This is my Father's world to bu sung on May 10, 2020

A brief introduction on video for TPCSTL.  這裡有個為本教會製作的聖詩18首簡介影片

This is a Presbyterian hymn, not because of the lyricist was a Presbyterian pastor, the re-arranger was a Presbyterian musician, and it was first published in a Presbyterian hymnal, but because if is a collaboration of many and have been going through many evolutions. It is not the product of a single great person but the collaboration of many, which characterize the way Presbyterian churches work. Heros are not the most important characters, nor the most admired, in the Presbyterian churches.
這可以說是一個長老會的聖詩，不是因為作詞者是一個長老會的牧師，不是因為編曲家是一個長老會的音樂家，也不是因為並且它首先出現在長老會的聖詩中，而是因為這首聖詩是許多人拼湊的成品，而且已經歷了許多演變 。 這不是一個偉大人物的絕佳產物，而是許多普通人物的協作，這體現了長老教會的工作方式。 在長老教會中，英雄不是最重要的人物，也不是最受讚揚的人物。

Author: Maltbie D. Babcock

https://hymnary.org/text/this_is_my_fathers_world_and_to_my

Maltbie D. Babcock (b. Syracuse, NY, 1858; d. Naples, Italy, 1901) graduated from Syracuse University, New York, and Auburn Theological Seminary (now associated with Union Theological Seminary in New York) and became a Presbyterian minister. He served the Brown Memorial Presbyterian Church in Baltimore, Maryland, and the Brick Presbyterian Church in New York City. In Baltimore he was especially popular with students from Johns Hopkins University, but he ministered to people from all walks of life. Babcock wrote hymn texts and devotional, poems, some of which were published in The School Hymnal (1899). Bert Polman… Maltbie D. Babcock（1858年生於紐約錫拉丘茲； 1901年生於意大利那不勒斯）畢業於紐約雪城大學和奧本神學院（現與紐約聯合神學院有關），並成為長老會牧師。 他曾在馬里蘭州巴爾的摩的布朗紀念長老會教堂和紐約市的磚長老會教堂任職。 在巴爾的摩，他特別受到約翰•霍普金斯大學學生的歡迎，但他牧養的對向是各行各業的人。 巴布科克寫過聖詩歌詞和靈修詩，其中一些發表在《校園聖詩》（The School Hymnal，1899年）中。 伯特•波爾曼… Go to person page >

The original poem contained sixteen stanzas of four lines each.^[3] The poem was set to music in 1915 by Franklin L. Sheppard, a close friend of Babcock. The tune name, TERRA BEATA, means “blessed earth” in Latin.^[4] Sheppard adapted the music from a traditional English melody that he learned from his mother as a child.^[5]  原始的詩，包含十六節，每節四行。[3] 這首詩是1915年由巴比考克的密友富蘭克林·謝巴德（Franklin L.Sheppard）配上旋律的。 曲調名稱 “TERRA BEATA”在拉丁語中意為“受祝福之土地”。[4] Sheppard從他小時候從母親那裡學到的傳統英語歌曲的旋律改編了出這首聖詩的曲調。   https://en.wikipedia.org/wiki/This_Is_My_Father%27s_World

One of the peculiarities in this hymn other than its being one of the most popular hymns that almost every hymnal includes it, but in the varieties, it exists. I remember the harmony we use in our 2009 hymnal is different from what I remember as a child. Here is a copy of that old version, scanned from a pocket sized "Hymns of Life"  這首聖詩的特點之一是，它是幾乎所有聖詩集都會納入的「最受歡迎的讚美詩之一」，但卻有多種版本並存。 我記得我們在2009年版的聖詩中使用的和聲與我小時後使用的版本不同。 這裡是有個舊版本的影像，是從我的袖珍版「生命之詩」拍攝而來的。  http://www.christianstudy.com/data/hymns/text/life512.html 
https://hymnary.org/hymnal/HOLC1986

Here is a midi file that demonstrates the sound. 這裡有個 汨締聲型音檔可做參考。

http://www.christianstudy.com/data/hymns/midi/lifehymns/512.mid

Another aspect of the variety is in the lyrics. The lyric in the above old version with Chinese lyrics follows the original content in English. In our 2009 edition, the Taiwanese lyrics have some different focus. It emphasizes that "I am praising the Father who made this world" with slightly different examples of His work, while the original English praises "my Father's world" repetitively. 這首聖詩的多樣性的另一個要點是歌詞。 上面的舊版本中文歌詞遵循英語歌詞的原始內容。 在我們的2009年版聖詩中，台語歌詞的涵意有不同的重點。 台語歌詞反覆地唱說，「我心讚美天父，自然，永活之父」，舉出一些上帝創造物的例子。這跟原詩所宣告的「這是我父親的世界」有所不同。

You certainly have the opportunity to sing whichever you prefer. 您當然有機會，透過我們的多語投影片，選擇用你喜歡的版本來唱出這首歌。

congregational singing 這裡有個會眾唱這首聖詩的實況錄音  https://www.youtube.com/watch?v=0l0ovik-lR4
choir performance 這裡有個聖歌隊唱這首聖詩的實況錄音  https://www.youtube.com/watch?v=c1e_zqtMAYM

2020/5/6
As I took the breakfast at sometimes after 1pm, I suddenly ran across a new vision about this hymn.  當我今天在下午1點之後吃早餐時，我突然遇到了一個對這首聖詩的新認識。

This is not a perfect hymn because of many points that demand the singers' attention and special treatment in singing, as shown in the demonstration video. 這並不是一首完美的聖詩，因為在示範影片中，顯出裡面有不少需要唱者在唱出聲音的時候要特別處理的點。

How could such a patchwork of hymn be so well-liked and collected in almost every hymnal? 這樣拼湊起來的聖詩怎麼會好聽到，幾乎每本聖詩集詩都要採用呢?
I believe it is because of special traits in showing the moral of Christian faith, implicitly. 我認為，這是因為裡面暗示著基督教信仰的一些主軸。

A perfect work of hymn might make people praise the writer and the composer with awe and try to sing the song faithfully with perfection. A patchwork of hymn inspires the people to join the process of making it better through re-arrangement, translation, and singing.  It demonstration one of the important doctrine about our participation in the creation of God and our duty of tending this world, His product for us with rooms for us to leave our finger and footprints. 一首完美的聖詩詩可能會讓人們讚揚那歌詞作者和作曲者，並嘗試以完美地忠實唱出原作者的寫出來原貌。可是拼湊的聖詩卻會引發許多人的參與，設法重編、翻譯、和用不同的手法唱出來，希望使它變得更好。它正好顯示了關於「我們參與上帝的創造；我們要照料這個世界的責任」這樣的重要教義。；上帝在祂的產品裡留下一些空間讓我們參與、發揮、貢獻，給讓我們一些留下手印和腳跡的空間。

How could we sing this hymn to help others think about our role of maintaining or improving its quality, attraction, and effect on the listeners? 

我們能夠如何唱這首讚美詩，來幫助其他聽到我們歌聲的人去思考「我們那『保持或改善這首歌的品質、吸引力、以及對聽眾的影響」的角色。

Wilderness Sunday School class 主日學曠野班

Here is an English version rewritten from a Mandarin version in a mail.

Thisi is my reply to Dr. Wu. I will provide an English version soon.

The "Wilderness Class" represents a learning method and attitude. It’s the method commonly found  in the doctoral classrooms, and it’s also how each of us learned as a child before entering the first school, i.e., without a basic premise (sometimes even without language and vocabulary), exploring the unknown world, there is no standard answer, no predicted destination, there is no issue of progress. The class is supposed to be open, accepting different opinions, and constantly questioning and updating. Seeking confirmed knowledge or solutions is not the feasible goal in a classroom within an hour. Encouraging everyone to ask questions and interpret ad lib is achievable and helpful to all involved. https://dictionary.cambridge.org/zht/%E8%A9%9E%E5%85%B8/%E8%8B%B1%E8%AA%9E-%E6%BC%A2%E8%AA%9E-%E7%B9%81%E9%AB%94/improvise

Several principles:
1. No one can obtain and understand all the truth in the life time.
2. Everyone may speak the truth, but we are constantly updating our understanding.
3. Encourage everyone to spread out their prejudices. (What I experienced is "Once words are spoken, I will see shortcomings in my messages. Without speaking to someone, I will keep my thought as is in my mind.")
Avoid teaching in the form of duck-feeding.  Promote everyone to learn actively.
Recently, the Interim pastor has been attending, which has prompted us to practice expression in English. Very demanding and tiresome, but rare opportunity.
This is one of the ways to overcome the "learning fatigue" of old believers. Believers should learn to tell others, not just answer the right answer.
It is common for Taiwanese to "Refrain from expressing their ideas or feeling", especially when they are not prepared. Therefore, the wilderness class can also be said to be a place for "polishing the verbal skills."

I am planning to open an "internet chat room" regularly to make practice speeches, especially the practice of  "ad lib/improvised speech / reply". One of the special and rare opportunities is "you repeat the talking several times." The practices can also be recorded for review and self examination without judgment from others. One of the main points of the practice is not to point out the shortcomings of each other, but to review and practice separately. Sometimes it is necessary to listen to the recording several times to find the points for  improvements.
Hisam 2020/5/3 17:40

Original mail in Chinese characters.

On Sat, Apr 11, 2020 at 8:25 PM Anthony Su <groh.hisam@gmail.com> wrote:

「曠野班」代表一種學習的方法與態度。是我在博士班學到的方法，也是我們每個人進入學校之前的學習方法：在沒有基礎的前提下（有時連語言、詞彙都沒有）向未知的世界探索，沒有標準答案，沒有預知的終點，沒有進度的問題。也就是開敞，接納不同見解，同時不斷質疑、更新。在一個小時內不求解決，而要促使大家放心提問、解讀。

幾個原則：

1. 沒有人可能獲得全部的真理。每個人都可能講得頭頭是道，但是我們都不斷在更新自己的瞭解。
2. 鼓勵大家把自己的偏見攤開來。（我自己是 「話一旦講出來，就會看到缺點。不講出來，就會原地踏步」。
3. 避免訓話式、填鴨式的教導。促成大家主動學習。

近來，過渡牧師一直在參加，也就促使我們練習用英語表達。很累，但是很難得。
這是克服老信徒「學習疲勞」的方法之一。信徒都要學習講給別人聽，而不只是背下對的答案。

台灣人「辭不達意」，尤其是在沒有準備的情況下，是很普遍的。因此，曠野班也可以說是一個「說話課」。

我在打算定期開「網路聊天室」製造練習講話，尤其是「即興演講/回覆」的練習。其中一個特殊又難得的機會就是「可以重講幾次看看」。也可錄音回顧。練習的要點之一就是不互相點出缺點，而是各自檢討、演練。有時要重聽錄音好幾次才會發現改進之點。
Hisam 20:25

各位親愛的的兄弟姐妹們大家晚安！
不好意思，我們稍有修正一下我們
曠野班主日學 的Link,

以下是新的Link:
Wilderness Sunday school
Meeting ID
meet.google.com/xih-dauo-jvv
Phone Numbers (‪US)
‪+1 857-529-7249
PIN: ‪274 595 943#
謝謝大家的支持！

On Mon, Apr 6, 2020 at 10:06 AM Stephen Wu <stevewu0728@yahoo.com> wrote:

Anthony:

請問曠野班是星期天什麼時候開始？ 記得以前去過。 很想知道 “曠野的呼聲” 到底是什麼？怎麼一直還走不出來？